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A recent Hollywood Reporter poll, however, shows that 66% of Trump voters turn off the show when it goes political, but 43% of Clinton voters want speechifyers to slam Trump. And 60% of the country can’t name one best picture nominee. Well I can, and that’s Barry Jenkin’s Moonlight, and it’s the film of the year. Superbly made, with pitch perfect performances, in a script that began as a play and continually plays with our notions of black life and character.

Silence, by Martin Scorsese, is a good old fashioned art film about selflessness in a Facebook planet. The Jesuit mission to convert Japan to Christianity has failed in 1633, as Buddhist Japan searches out and executes Jesuit priests and their followers. The last priest, Father Ferreira, played by Liam Neeson has sent word back to Portugal that he has apostasized—renounced God and become a Buddhist.

What a work of man Sundance is, namely Robert Redford. It’s his legacy, after all, far more than the Way We Were or All the President’s Men or that near-silent film he starred in, ALL IS LOST, as a sailor adrift at sea. The 33rd Sundance Film Festival wraps up this weekend.

If you stop thinking of film as art—the 7th art, in fact—which the majority of Americans don’t anyway—and think of it for a second as a product, Sundance didn’t invent the independent film. But it did find a way to make it a business.

2016 has been quite a year. However it treated you, now pick the 10 best parts of it. That’s what we’ve asked our film critic, Harlan Jacobson, to do in film:

It’s hard enough to figure out if the year itself was good until years later. That said, 2016 was diverse in terms of race, gender, and sexual orientation. The lost white guys didn’t didn’t cut quite the same figure as last year.